Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Spain and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing David Bowie to the grunge kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Andrew Hill. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Blossom Toes,
Joensuu 1685,
the Association,
Little Man,
June of 44,
The Sound,
Urselle,
Althea and Donna,
Hasil Adkins,
Minnie Riperton,
Matthew Bourne,
Oneida,
Spandau Ballet,
Bobby Byrd,
Fatback Band,
Rites of Spring,
John Lydon,
Lakeside,
DJ Style,
Stiv Bators,
Dennis Brown,
Bauhaus,
Jimmy McGriff,
Kerrie Biddell,
Bizarre Inc.,
Larry & the Blue Notes,
Eurythmics,
Gerry Rafferty,
Sam Rivers,
The Happenings,
Suicide,
The Last Poets,
Peter Gordon & Love of Life Orchestra,
The New Christs,
Sonny Sharrock,
Siglo XX,
Lizzy Mercier Descloux,
Kenny Larkin,
The Cure,
Negative Approach,
Japan,
Intrusion,
Gil Scott Heron,
Brass Construction,
Guru Guru,
Ultra Naté,
the Slits,
Godley & Creme,
Pet Shop Boys,
The J.B.'s,
Half Japanese,
Röyhkä ja Rättö ja Lehtisalo,
Brick,
Lalo Schifrin,
Sight & Sound,
Bobby Womack,
Yusef Lateef,
Pantaleimon,
Scott Walker,
Crispy Ambulance,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.